Paddy plays several hurdy-gurdies, some he made himself. This instrument usually stirs the most interest. In its earliest forms it can be traced to carvings dating from about 1180 in cathedrals in Spain at Soria and Santiago de Compostela. In the middle ages, in England, the hurdy-gurdy, then known by such names as Symphonie, Chifonie or Armonie, was part of the stock-in-trade of aristocratic troubadours and minstrels, as well as being used for sacred music. By the 15th century, the hurdy-gurdy had all the features of the modern instrument. In France in the 18th century, where it was known as the vielle a roue, it became popular amongst the aristocracy in pursuit of all things rustic. It has six strings bowed by a rosined wheel turned by the handle, as well as a number of sympathetic drone strings which pick up the resonant vibrations from within the instrument. The melody is played by the left hand pressing keys which stop the strings by tangents inside the key box. The instrument has a compass of two chromatic octaves, but is held in a range of fixed keys by the drones. A method for creating percussion is given by a small bridge which is free to pivot and vibrate on the sound board when the wheel is turned in a special way, breaking the rotation up into rhythmical bits. This technique, coup de poinee (blow of the wrist), is where the main difficulty of playing the instrument lies. Although found mainly in the centre of France, where it is used to accompany folk dance, the hurdy-gurdy is being used more in this country for folk music and in early music ensembles.